Last Friday we did a series of really interesting exercises, such as using a ”sun dial” to figure out what the shadow of the object we were given, or the box that we created, would look like at a specific time of day in a certain season. The sheets we were given are a great tool, as I will use them in the future to figure out where is the best place to position certain elements within a plan or a model, according to the daylight.

This exercise reminded me of one case study that I thoroughly enjoyed last year in my Architectural History class.: the Vitra Campus Conference Pavilion in Weil am Rhein, Germany, designed by renowned Japanese architect Tadao Ando. Completed in 1993, this minimalist pavilion exemplifies the integration of daylight as a central design element. Ando strategically employs natural light to create a serene and contemplative atmosphere within the space. The pavilion features large expanses of glass and strategically placed skylights, allowing ample daylight to penetrate the interior. The architect pays careful attention to the play of light and shadow, using simple geometric forms and concrete surfaces to enhance the visual experience. The design not only prioritizes the aesthetic qualities of daylight but also addresses its functional aspects, ensuring a well-lit and comfortable environment for various activities. This architectural precedent underscores the significance of daylight not just as an illuminating factor but as a design element that profoundly influences the spatial qualities and user experience within a building.  Daylight holds profound significance in Japanese architecture, reflecting a cultural and aesthetic appreciation for the interplay between nature and the built environment. In traditional Japanese architecture, light is not merely a functional element but a design principle that seeks harmony with the surrounding landscape. Modern Japanese architects, such as Tadao Ando , continue to emphasize the importance of daylight in their designs, employing innovative strategies to maximize natural light while maintaining a sense of balance and tranquillity.

While specific practices may vary, a general approach is to have the main living spaces face south, taking advantage of the path of the sun. This orientation takes advantage of the sun’s path in the northern hemisphere, where Japan is located. On the other hand, east-facing windows capture the morning sun, offering a gentle and invigorating light, while west-facing windows receive afternoon sunlight, which can be warmer and more intense. North-facing windows generally receive indirect and softer light, making them suitable for spaces where consistent brightness is desired without the direct glare of the sun.

Thus, the lighting exercise that we did in class is incredibly applicable in real life and it will be a step I will incorporate in all my future models.

Sources: Fig1- Vitra Pavilion- www.vitra.com

Photos taken during class- taken by me (Daria)

Nussaume, Yann. (2009) Tadao Ando / Yann Nussaume. Basel: Birkhäuser.

Patfield, E. W. C. (2017) Kintsukuroi : natural lighting, tectonics and materiality.

Kite, S. (2017) Shadow-makers : a cultural history of shadows in architecture / Stephen Kite. New York: Bloomsbury Academic.

.IMG_2057  (short video).

Last Friday, we went on a site visit to the St Albert Chaplaincy . The space is a beautiful architectural piece which combines simplicity with spirituality. The lack of ornaments does not take away from how special the place feels. Upon our visit, we drew different sketches of areas that stood out in terms of light distribution, we measured the light factor in the most lit areas and the darkest ones and we observed the various ways in which both natural and artificial light can be used.

Upon my visit at Westminster Abbey a few weeks ago, I completed a list of different factors that resulted in a successful church lighting project. Stoane Lighting was in charge of the project and we were lucky enough to visit their offices outside Edinburgh. Therefore, I will examine the quintessential factors that must be considered when it comes to using lights in a grand space.

• LOCATION: 
•  Placing lights over the seating area is important to allow members to read along easily. In order to provide an even distribution of light, they need to be  spaced  out evenly and in relation to windows or other existing natural lighting elements.
• THE ARCHITECTURE OF THE SPACE:
• Good architectural lighting design will show off the structure itself to give it a decorative look, while providing plenty of indirect light, outlining the skeleton, overall structure of the building.
• ACCENT LIGHTING FOR CERTAIN KEY AREAS: 
• Altar, Dome, Choir Stage, Seats, Main Hall
• Spot lights or Sconce lights are preferred
• LIGHTING MEASUREMENTS:
• Temperatures between 3000k and 3300k are warm and comforting while still being bright enough to easily see.
• Cool lights, such as 4000k lights, may also be preferred on stages, as they provide a more flattering skin tone.

Analysing the chandeliers designed by Stoane Lighting for Westminster Abbey:

”Working closely with Speirs Major, the task was to refurbish the lighting within the 3m high Waterford Crystal chandeliers, that were donated in 1965 by the Guinness family to mark the 900^th anniversary of the founding of the Abbey. Each chandelier comprises around 500 individual parts with glass pieces and drops shaped by hand. At the time they each hosted 56 LED retrofit lamps that were deemed to be well below par.”

How was it made?-  56 LED modules were produced for each of the sixteen chandeliers with a silicone optic offering a ~340º omnidirectional decorative beam. . The  colour temperature ranges from 1650K – 8000K and is controlled wirelessly using DMX that can adjust the module intensity, colour, saturation and hue.  The tiers are controlled separately so that both the colour and brightness of each tier within a pendant is tuneable.

Sources: Fig1,2,3- Westminster Chandelier and LED module- www.stoanelighting.com.uk

www.stoanelighting.com

King, Laurence. (1972) Lighting and wiring of churches : recommendations and conditions / [prepared by Laurence King … et al.]. Revised edition. London: Church Information Office.

Kyba, C. C. M. et al. (2018) Reducing the environmental footprint of church lighting: matching façade shape and lowering luminance with the EcoSky LED. International journal of sustainable lighting (Online). [Online] 20 (1), 1-.

Marks, Brian. (1994) Heat and light : a practical guide to energy conservation in church buildings / Brian Marks; with chapters by Ian G. Hanna. Edinburgh: Saint Andrew Press.

Site Visit Sketches and Photos- taken by me (Daria)

Two Fridays ago, we went on a site visit to the National Museum of Scotland. There, we measured the daylight factor in different areas of the museum, we drew sketches of interiors that showcased a great relationship with light and overall we understood how important light or the absence of light is. How it can make or break a space. I find the basement area and the groundfloor to be of a very satisfying contrast, in the sense that both interiors are quite similar in terms of arches and columns, yet they convey a completely different feel and atmosphere because of the light. The use of light in museums is crucial for various reasons, including the illumination of exhibits, creating ambiance, enhancing visibility, and contributing to the overall visitor experience. The National Museum of Scotland, in my opinion, is a prime example of light used to its full potential. The architecture and the overall structure of the main hall of the building remind me of Joseph Paxton’s Crystal Palace, where the use of modular architecture and the combination of iron cast steel and glass allow for the space to be bathed in a cascade of natural light.

The use of light in museums is an art of its own, designed to enhance the visitor experience while preserving the integrity of precious artefacts. Illumination serves multiple purposes, from showcasing exhibits and emphasizing architectural features to creating a specific ambiance within each space. Museums leverage both natural and artificial light, strategically balancing brightness and color temperature to optimize visibility without compromising the conservation of delicate objects. Energy-efficient solutions, such as LED lighting, are commonly employed to reduce environmental impact and operational costs. Lighting designers work hand-in-hand with curators to craft various scenes, adjusting levels to draw attention to focal points or immerse visitors in interactive displays. 

When it comes to museum lighting, the most common types of luminaires are fluorescent lights, incandescent lights, halogen lamps, and most importantly, LED lights.

They are by far, the most efficient luminaire, as they are cost efficient, have a longer life span then fluorescent lights for example and they present various advantages over traditional lighting methods.

LED lamps offer accurate color rendering, energy efficiency, and preservation benefits, enhancing the visitor experience while  minimizing damage to valuable artwork. Glare, which is the downside of most light fixtures, can be easily taken care of through the use of  directional lightings, such as LED spotlights and track lighting, which can be used to focus the light precisely where needed, thus reducing the risk of glare.

To conclude, museum and exhibition lighting is a quite intricate domain, as there is a vast criteria that needs to be taken into consideration, before deciding on the type of luminaire.

Sources: Anon (2015) Lighting for museums and art galleries. London: Society of Light and Lighting.

Turner, Janet. (1998) Designing with light : public places : lighting solutions for exhibitions, museums and historic spaces / Janet Turner. Cèligny: RotoVision.

Osticioli, I. et al. (2018) Warm white LED lighting in museums: Ageing effects on terpenoid resins assessed through Raman spectroscopy and chemometrics. Strain. [Online] 54 (3), .

Fig1: Comparison with Traditional Lighting Options

Museum Photos- take by me (Daria)- arched interiors, play between light and dark.